Really quite extraordinary. I appreciate the clarity of your vision. I appreciate how deeply you've delved into it. I remember a teacher who wanted to take me away from all recordings. Maybe at that stage I was imitating and emulating. Maybe there is something to be said for authentically allowing the score to speak with no interference; however, to do no research on how others have approached a score, and cutting oneself off from performance practice is just insane. I think a mature artist gets more creative the more they hear; ideas bounce off ideas, and out pops your own particular voice. That kind of research is fun, valuable, and increases the variety and uniqueness of the artist undergoing it. Okay, I'm off my soapbox. Thank you for arpeggiating the whole "chord." I really don't like when people take it in blocks and chunks, and pretend they can lay the whole thing down. If you built a mould that would play just that one chord, it would still never approach the effect of an arpeggiated blast. I remember the first time I heard a certain live Richter performance from the mid 60's, and he hit that arpeggio at the end so violently it uprooted me like a tornado uprooting a tree. Such a force, I can never go back, and have a hard time seeing it any other way.I'll be listening more, and seeking out what else you've had going on.